Richard Joseph "Dick" Giordano was an American comics artist and editor whose career included introducing Charlton Comics' "Action Heroes" stable of superheroes and serving as executive editor of DC Comics. Dick Giordano, an only child, was born in New York City on July 20, 1932, in the borough of Manhattan to Josephine and Graziano "Jack" Giordano, he attended the School of Industrial Art. Beginning as a freelance artist at Charlton Comics in 1952, Giordano contributed artwork to dozens of the company's comics, including such Western titles as Annie Oakley, Billy the Kid, Wyatt Earp, the war comic Fightin' Army, scores of covers. Giordano's artwork from Charlton's Strange Suspense Stories was used as inspiration for artist Roy Lichtenstein's 1965/1966 Brushstroke series, including Brushstroke, Big Painting No. 6, Little Big Painting and Yellow and Green Brushstrokes. By the mid-1960s a Charlton veteran, Giordano rose to executive editor, succeeding Pat Masulli, by 1965; as an editor, he made his first mark in the industry, overseeing Charlton's revamping of its few existing superheroes and having his artists and writers create new such characters for what he called the company's "Action Hero" line.
Many of these artists included new talent Giordano brought on board, including Jim Aparo, Dennis O'Neil, Steve Skeates. DC Comics vice president Irwin Donenfeld hired Giordano as an editor in April 1968, at the suggestion of Steve Ditko, with Giordano bringing over to DC some of the creators he had nurtured at Charlton. Giordano was given several titles such as Teen Titans and Young Love, but none of DC's major series, he launched the horror comics series The Witching Hour in March 1969. and the Western series All-Star Western vol. 2 in September 1970. He continued to freelance for DC as a inker; as an artist, Giordano was best known as an inker. His inking was associated with the pencils of Neal Adams, for their run in the early 1970s on the titles Batman and Green Lantern/Green Arrow. Comics historian Les Daniels observed that "The influential Adams style moved comics closer to illustration than cartooning, he brought a menacing mood to Batman's adventures, augmented by Dick Giordano's dark, brooding inks."
By 1971, frustrated by what he felt was a lack of editorial opportunities, Giordano had left DC to partner with fellow artist Neal Adams for their Continuity Associates studios, which served as an art packager for comic book publishers, including such companies as Giordano's former employer Charlton Comics, Marvel Comics, the one-shot Big Apple Comix. Several comics artists began their careers at Continuity and many were mentored by Giordano during their time there, he had a brief run as penciler of the Wonder Woman series which included a two-issue story in issues #202–203 written by science-fiction author Samuel R. Delany. Giordano drew several backup stories in Action Comics featuring the Human Target character as well as the martial arts feature "Sons of the Tiger" in Marvel's black-and-white comics magazine The Deadly Hands of Kung Fu, he was a frequent artist on Batman and Detective Comics and he and writer Denny O'Neil created the Batman supporting character Leslie Thompkins in the story "There Is No Hope in Crime Alley" in Detective Comics #457.
Giordano inked the large-format, first DC/Marvel intercompany crossover, Superman vs. the Amazing Spider-Man, over the pencils of Ross Andru. Giordano inked Adams on the one-shot Superman vs. Muhammad Ali in 1978. Throughout the late 1970s and the early 1980s, Ross Andru and Giordano were DC's primary cover artists, providing cover artwork for the Superman titles as well as covers for many of the other comics in the DC line at that time. In 1980, DC publisher Jenette Kahn brought Giordano back to DC; the editor of the Batman titles, Giordano was named the company's new managing editor in 1981, promoted to vice president/executive editor in 1983, a position he held until 1993. DC Comics writer and executive Paul Levitz observed in 2010 that "Giordano held the respect of talent as one of their own, kept their affection with his reassuring calm and warmth."Giordano provided art for several anniversary issues of key DC titles. He and television writer Alan Brennert crafted the story "To Kill a Legend" in Detective Comics #500.
Giordano was one of the artists on the double-sized Justice League of America #200 as well as Wonder Woman #300 He was promoted to Vice-President/Executive Editor in 1984, with Kahn and Levitz, oversaw the relaunch of all of DC's major characters with the Crisis on Infinite Earths limited series in 1985. This was followed by Frank Miller's Batman: The Dark Knight Returns and Alan Moore and Dave Gibbons' Watchmen in 1986. Giordano inked several major projects during this time such as George Pérez's pencils on Crisis on Infinite Earths and John Byrne's pencils on The Man of Steel and Action Comics, though during this period he always employed assistants for inking backgrounds, filling in large black areas, making final erasures. From 1983 to 1987, Giordano wrote a monthly column published in DC titles called "Meanwhile..." which much like Marvel's "Bullpen Bulletins" featured news and information about the company and its creators. Unlike "Bullpen Bulletins,", characterized by an ironic, over-hyped tone, Giordano's columns "... were written in a sober friendly voice, like a friend of your father's you liked and didn't mind sitting down to listen to."
Giordano closed each "Meanwhile..." column with the characteristic words, "Thank you and good afternoon." The Vertigo imprint was launched in early 1993 built upon the success several titles edited by Karen Berger including Sw
Todd Klein is an American comic book letterer, logo designer, occasional writer for DC Comics. Todd Klein broke into comics in the summer of 1977, hired by DC Comics as a staff production worker; this job entailed pasting together text pages, putting logos, display lettering, type on covers, doing art and lettering corrections on comics pages. Other staffers included colorists Bob LeRose and Anthony Tollin, writer Bob Rozakis, inker Steve Mitchell, letterer John Workman. Over the next months and years, Klein tried his hand at all those things, but found lettering suited him best. Workman helped Klein get started with the basic tools and techniques, Klein studied the work of Gaspar Saladino, Ben Oda, John Costanza. Klein landed his first freelance lettering job in the fall of 1977, by late 1977 was entrusted with an entire issue: Firestorm #1. In the 1980s, Klein worked for DC, where in addition to lettering many of their titles, he designed logos and title headers for various letter pages; as DC emerged from a late 1970s/early 1980s slump, new opportunities opened up for freelancers.
Klein got more work as a letterer, keeping him busy. Books he worked on during this period included Alan Moore's Swamp Thing, Batman: Year One, Detective Comics; as a freelancer, Klein performed production work on such works as Moore and Dave Gibbons' Watchmen, Frank Miller's Ronin, Batman: The Dark Knight Returns. In the 1990s, despite being a freelancer, Klein worked for long periods on a number of comics titles, including the entire runs of Suicide Squad, The Spectre, The Dreaming, The Invisibles for DC/Vertigo, he has long stints on DC's Batman. In the 2000s, Klein lettered all the Alan Moore America's Best Comics titles, including Promethea, Tom Strong, Top 10, he lettered the entire runs of Marvel's Universe X. Klein has spent long periods on DC's Detective Comics. Klein is most known for his work on Neil Gaiman's Sandman, where he developed distinctive dialogue balloons and lettering for various characters Dream and his siblings. Klein discussed the process by which he came up with these distinctive styles on his website: "Each of them needed some sort of special lettering style...to show that they are all equals in their iconic power.
Destiny's speech was italic Neil had a specific idea about Delirium's style, that it represent a sort of mad variety, getting louder and softer, like something going in and out of focus. This was fun, but tedious in large ones. Despair just had a rough balloon edge to denote a ragged, rough voice."As comics critic Alan Donald notes in this discussion at Silver Bullet Comic Books, "Klein's work on Sandman was not distinctive but revolutionary, showed a trend that should have been followed. The letterer’s art would have been forced to the fore and one could have seen ou beautiful synergistic art form become further enriched by this new trend." To read about Klein's technique one need look no further than The DC Comics Guide to Coloring and Lettering Comics, published by Watson-Guptill Publications. In this guide, Klein gives a thorough review of how he mentally approaches a page and goes about doing the actual lettering, either by hand, or by use of the computer. Klein saw the growing prevalence of computerized lettering in the early 1990s and realized it was the wave of the future.
He had met Comicraft owners Richard Starkings and John Gaushell at the 1993 San Diego Comic-Con, in 1994, he asked them to help him get started with computer lettering by creating a few fonts based on Klein's hand lettering. Klein bought his first Macintosh computer in late 1994 and started learning how to make fonts himself. Since 1995, Klein has created a library of over 100 of his own fonts; the first book that Klein computer lettered was Image Comics' Deathblow #20. Klein began creating logos for DC when he started there in 1977. Most of his logos were for DC until he became a full-time freelancer in 1987, when he began creating logos for other companies as well; some of the notable logos he created during the period 1977–1995 include the Batman logo used for the Batman: Year One storyline, The New Teen Titans, Amethyst: Princess of Gemworld, Camelot 3000, Doctor Strange, The Amazing Spider-Man, Magneto. From 1995 to the present, most of Klein's logos have been done on the computer. Notable logos from this period include Challengers of the Unknown, Silver Surfer, Iron Man, the Legion of Super-Heroes, The Life and Times of Scrooge McDuck, Witchblade, Terra Obscura, Tom Strong.
In addition to being the main writer for The Omega Men from May 1985 to May 1986 (i
Dark fantasy is a subgenre of fantasy literary and cinematic works that incorporate darker and frightening themes of fantasy. It often combines fantasy with elements of horror or has a gloomy, dark atmosphere, or a sense of horror and dread. A strict definition for dark fantasy is difficult to pin down. Gertrude Barrows Bennett has been called "the woman who invented dark fantasy". Both Charles L. Grant and Karl Edward Wagner are credited with having coined the term "dark fantasy"—although both authors were describing different styles of fiction. Brian Stableford argues "dark fantasy" can be usefully defined as subgenre of stories that attempt to "incorporate elements of horror fiction" into the standard formulae of fantasy stories. Stableford suggests that supernatural horror set in the real world is a form of "contemporary fantasy", whereas supernatural horror set or wholly in "secondary worlds" should be described as "dark fantasy". Additionally, other authors and publishers have adopted dark fantasy to describe various other works.
However, these stories share universal similarities beyond supernatural occurrences and a dark brooding, tone. As a result, dark fantasy cannot be solidly connected to a defining set of tropes; the term itself may refer collectively to tales that are either fantasy-based. Some writers use "dark fantasy" as an alternative description to "horror", because they feel the latter term is too lurid or vivid. Charles L. Grant is cited as having coined the term "dark fantasy". Grant defined his brand of dark fantasy as "a type of horror story in which humanity is threatened by forces beyond human understanding", he used dark fantasy as an alternative to horror, as horror was associated with more visceral works. Dark fantasy is sometimes used to describe stories told from a monster's point of view, or that present a more sympathetic view of supernatural beings associated with horror. Anne Rice's The Vampire Chronicles, Chelsea Quinn Yarbro's Saint-Germain, Neil Gaiman's The Sandman are early examples of this style of dark fantasy.
This is in contrast to the traditional horror model, which focuses more on the victims and survivors. In a more general sense, dark fantasy is used as a synonym for supernatural horror, to distinguish horror stories that contain elements of the supernatural from those that do not. For example, a story about a werewolf or vampire could be described as dark fantasy, while a story about a serial killer would be horror. Stableford suggests that the type of horror conveyed by fantasy stories such as William Beckford's Vathek and Edgar Allan Poe's The Masque of the Red Death "is more aesthetic than visceral or existential", that such stories should be considered "dark fantasies" rather than the "supernaturalized thrillers" of conventional horror fiction. Karl Edward Wagner is credited for creating the term "dark fantasy" when used in a more fantasy-based context. Wagner used it to describe his fiction about the Gothic warrior Kane. Since "dark fantasy" has sometimes been applied to sword and sorcery and high fantasy fiction that features anti-heroic or morally ambiguous protagonists.
Another good example under this definition of dark fantasy is Michael Moorcock's saga of the albino swordsman Elric. The fantasy work of H. P. Lovecraft, Clark Ashton Smith and their emulators have been specified as "dark fantasy", since the imaginary worlds they depicted contain a large number of horror elements. Dark fantasy is used to describe fantasy works by authors that the public associates with the horror genre. Examples of this would be Stephen King's The Dark Tower series, Peter Straub's Shadowland and Clive Barker's Weaveworld. Alternatively, dark fantasy is sometimes used for "darker" fiction written by authors best known for other styles of fantasy. Key would fit here. On Dark Fantasy — author Lucy Snyder's essay on the differences between "pure" horror and dark fantasy
The Endless are a group of fictional beings appearing in American comic books published by DC Comics imprint Vertigo. The characters embody powerful forces or aspects of the universe in the comic book series The Sandman, by Neil Gaiman, they have existed since the dawn of time and are thought to be among the most powerful beings in the existence. They are more powerful than most gods. Dream is the protagonist of The Sandman series; the Endless are a somewhat dysfunctional family of seven siblings. They may appear in different forms, but have light skin and black hair, with the exception of redheads Destruction and Delirium, their appearance can change to fit the expectations of others. When asked by Marco Polo if he is always so pale, Dream replies, "That depends on who's watching." The Endless spend most of their time fulfilling their functions as embodiments of natural forces. For example, Death leads the souls of the dead away from the realm of the living, while Dream oversees the realm of dreams and imagination and regulates dreams and inspiration.
One notable facet of their depiction is that none of them are "representations" or "personifications" of their function, they are their function. In The Sandman #48, Destruction gives a further description of the Endless: "The Endless are patterns; the Endless are ideas. The Endless are wave functions; the Endless are repeating motifs. The Endless are echoes of darkness, nothing more... And our existences are brief and bounded. None of us will last longer than this version of the Universe." Some of the Endless are more dedicated to their tasks than others. The younger Endless Desire, are known to play games with mortal lives. Destruction called "The Prodigal", abandoned his duties altogether. If one of the Endless is destroyed he or she will be replaced by another aspect of their role, but this does not occur if they are absent or inactive. In such cases, the aspect of existence supervised by that member of the Endless becomes more random and chaotic. During this time the Universe may attempt to replace that member by putting some of their essence within a mortal, as it did with Wesley Dodds, who received a fraction of Dream's soul while Dream was imprisoned.
Each of the Endless has a realm in which they are sovereign. Within their realm, each member of the Endless has a gallery containing symbols, or sigils, of the other Endless; the Endless may contact each other by holding the appropriate sigil and calling for that member of the Endless. Destiny is able to summon his siblings by using his gallery of portraits, whether they want it or not. In addition to overseeing their own sphere of influence, the Endless help to define their own opposites; this dualistic aspect of the Endless has been confirmed in the case of Death, present at the beginning as well as the end of every life. Destruction has an interest in creative pastimes, including art and cooking. Dream seems to have some power to shape reality, as seen in The Sandman #18, A Dream of a Thousand Cats, in which a large number of entities, dreaming of an alternate reality, create said reality. Delirium has some kind of strange logic that only makes sense to her, but that allows her to understand things that others do not.
In the Sandman Overture, it was revealed that under some conditions, some Endless can fool other Endless by trickery and use some of their powers. Indeed, Dream was capable of saving the dead Prez from Boss Smiley, while Death could not do it herself. Desire was capable of posing as an aspect of Dream and create a dream Vessel, created by Dream, it was convincing enough to Dream. The exact limits of the powers the Endless may/must use are subject to debate - but are set by rules, it is unknown if the Endless are allowed/capable/supposed to use their powers on those more powerful or more ancient than them. The origin and exact nature of the Endless is unknown. Few hints are given in the series as to why the Endless exist, they seem to be natural forces. They have at times been described as "a creation of the consciousness of living beings"; the Endless are as old as the concepts. The Endless are said to be older than the fairyfolk and other supernatural beings, their exact ages in years are unknown.
In The Sandman #5, "Passengers", Dream is recognized by the Martian Manhunter as the dream god on ancient Mars, as well as in the Endless Nights chapter "Dream: The Heart of the Star", which takes place before our Sun's planets have "awakened" with life. Dream states in The Sandman #16 that once another world was lost to a vortex. Death has claimed that she was there when the first living thin
DC Comics, Inc. is an American comic book publisher. It is the publishing unit of DC Entertainment, a subsidiary of Warner Bros. since 1967. DC Comics is one of the largest and oldest American comic book companies, produces material featuring numerous culturally iconic heroic characters including: Superman, Wonder Woman, The Flash, Green Lantern,Aquaman,Martian Manhunter, Green Arrow, Hawkman and Supergirl. Most of their material takes place in the fictional DC Universe, which features teams such as the Justice League, the Justice Society of America, the Suicide Squad, the Teen Titans, well-known villains such as The Joker, Lex Luthor, Darkseid, Brainiac, Black Adam, Ra's al Ghul and Deathstroke; the company has published non-DC Universe-related material, including Watchmen, V for Vendetta, many titles under their alternative imprint Vertigo. The initials "DC" came from the company's popular series Detective Comics, which featured Batman's debut and subsequently became part of the company's name.
In Manhattan at 432 Fourth Avenue, the DC Comics offices have been located at 480 and 575 Lexington Avenue. DC had its headquarters at 1700 Broadway, Midtown Manhattan, New York City, but it was announced in October 2013 that DC Entertainment would relocate its headquarters from New York to Burbank, California in April 2015. Random House distributes DC Comics' books to the bookstore market, while Diamond Comic Distributors supplies the comics shop specialty market. DC Comics and its longtime major competitor Marvel Comics together shared 70% of the American comic book market in 2017. Entrepreneur Major Malcolm Wheeler-Nicholson founded National Allied Publications in autumn 1934; the company debuted with the tabloid-sized New Fun: The Big Comic Magazine #1 with a cover date of February 1935. The company's second title, New Comics #1, appeared in a size close to what would become comic books' standard during the period fans and historians call the Golden Age of Comic Books, with larger dimensions than today's.
That title evolved into Adventure Comics, which continued through issue #503 in 1983, becoming one of the longest-running comic-book series. In 2009 DC revived Adventure Comics with its original numbering. In 1935, Jerry Siegel and Joe Shuster, the future creators of Superman, created Doctor Occult, the earliest DC Comics character to still be in the DC Universe. Wheeler-Nicholson's third and final title, Detective Comics, advertised with a cover illustration dated December 1936 premiered three months late with a March 1937 cover date; the themed anthology series would become a sensation with the introduction of Batman in issue #27. By however, Wheeler-Nicholson had gone. In 1937, in debt to printing-plant owner and magazine distributor Harry Donenfeld—who published pulp magazines and operated as a principal in the magazine distributorship Independent News—Wheeler-Nicholson had to take Donenfeld on as a partner in order to publish Detective Comics #1. Detective Comics, Inc. was formed, with Wheeler-Nicholson and Jack S. Liebowitz, Donenfeld's accountant, listed as owners.
Major Wheeler-Nicholson remained for a year, but cash-flow problems continued, he was forced out. Shortly afterwards, Detective Comics, Inc. purchased the remains of National Allied known as Nicholson Publishing, at a bankruptcy auction. Detective Comics, Inc. soon launched a fourth title, Action Comics, the premiere of which introduced Superman. Action Comics #1, the first comic book to feature the new character archetype—soon known as "superheroes"—proved a sales hit; the company introduced such other popular characters as the Sandman and Batman. On February 22, 2010, a copy of Action Comics #1 sold at an auction from an anonymous seller to an anonymous buyer for $1 million, besting the $317,000 record for a comic book set by a different copy, in lesser condition, the previous year. National Allied Publications soon merged with Detective Comics, Inc. forming National Comics Publications on September 30, 1946. National Comics Publications absorbed an affiliated concern, Max Gaines' and Liebowitz' All-American Publications.
In the same year Gaines let Liebowitz buy him out, kept only Picture Stories from the Bible as the foundation of his own new company, EC Comics. At that point, "Liebowitz promptly orchestrated the merger of All-American and Detective Comics into National Comics... Next he took charge of organizing National Comics, Independent News, their affiliated firms into a single corporate entity, National Periodical Publications". National Periodical Publications became publicly traded on the stock market in 1961. Despite the official names "National Comics" and "National Periodical Publications", the company began branding itself as "Superman-DC" as early as 1940, the company became known colloquially as DC Comics for years before the official adoption of that name in 1977; the company began to move aggressively against what it saw as copyright-violating imitations from other companies, such as Fox Comics' Wonder Man, which Fox started as a copy of Superman. This extended to DC suing Fawcett Comics over Captain Marvel, at the time comics' top-selling character.
Faced with declining sales and the prospect of bankruptcy if it lost, Fawcett capitulated in 1953 and ceased publishing comics. Years Fawcett sold the rights for Captain Marvel to DC—which in 1972 revived Captain Marvel in the new title Shazam
Myth is a folklore genre consisting of narratives or stories that play a fundamental role in a society, such as foundational tales or origin myths. The main characters in myths are gods, demigods or supernatural humans. Stories of everyday human beings, although of leaders of some type, are contained in legends, as opposed to myths. Myths are endorsed by rulers and priests or priestesses, are linked to religion or spirituality. In fact, many societies group their myths and history together, considering myths and legends to be true accounts of their remote past. In particular, creation myths take place in a primordial age when the world had not achieved its form. Other myths explain how a society's customs and taboos were established and sanctified. There is a complex relationship between recital of myths and enactment of rituals; the study of myth began in ancient history. Rival classes of the Greek myths by Euhemerus and Sallustius were developed by the Neoplatonists and revived by Renaissance mythographers.
Today, the study of myth continues in a wide variety of academic fields, including folklore studies and psychology. The term mythology may either refer to the study of myths in general, or a body of myths regarding a particular subject; the academic comparisons of bodies of myth is known as comparative mythology. Since the term myth is used to imply that a story is not objectively true, the identification of a narrative as a myth can be political: many adherents of religions view their religion's stories as true and therefore object to the stories being characterised as myths. Scholars now speak of Christian mythology, Jewish mythology, Islamic mythology, Hindu mythology, so forth. Traditionally, Western scholarship, with its Judaeo-Christian heritage, has viewed narratives in the Abrahamic religions as being the province of theology rather than mythology. Labelling all religious narratives as myths can be thought of as treating different traditions with parity. Definitions of myth to some extent vary by scholar.
Finnish folklorist Lauri Honko offers a cited definition: Myth, a story of the gods, a religious account of the beginning of the world, the creation, fundamental events, the exemplary deeds of the gods as a result of which the world and culture were created together with all parts thereof and given their order, which still obtains. A myth expresses and confirms society's religious values and norms, it provides a pattern of behavior to be imitated, testifies to the efficacy of ritual with its practical ends and establishes the sanctity of cult. Scholars in other fields use the term myth in varied ways. In a broad sense, the word can refer to any traditional story, popular misconception or imaginary entity. However, while myth and other folklore genres may overlap, myth is thought to differ from genres such as legend and folktale in that neither are considered to be sacred narratives; some kinds of folktales, such as fairy stories, are not considered true by anyone, may be seen as distinct from myths for this reason.
Main characters in myths are gods, demigods or supernatural humans, while legends feature humans as their main characters. However, many exceptions or combinations exist, as in the Iliad and Aeneid. Moreover, as stories spread between cultures or as faiths change, myths can come to be considered folktales, their divine characters recast as either as humans or demihumans such as giants and faeries. Conversely and literary material may acquire mythological qualities over time. For example, the Matter of Britain and the Matter of France, seem distantly to originate in historical events of the fifth and eighth-centuries and became mythologised over the following centuries. In colloquial use, the word myth can be used of a collectively held belief that has no basis in fact, or any false story; this usage, pejorative, arose from labeling the religious myths and beliefs of other cultures as incorrect, but it has spread to cover non-religious beliefs as well. However, as used by folklorists and academics in other relevant fields, such as anthropology, the term myth has no implication whether the narrative may be understood as true or otherwise.
In present use, mythology refers to the collected myths of a group of people, but may mean the study of such myths. For example, Greek mythology, Roman mythology and Hittite mythology all describe the body of myths retold among those cultures. Folklorist Alan Dundes defines myth as a sacred narrative that explains how the world and humanity evolved into their present form. Dundes classified a sacred narrative as "a story that serves to define the fundamental worldview of a culture by explaining aspects of the natural world and delineating the psychological and social practices and ideals of a society". Anthropologist Bruce Lincoln defines myth as "ideology in narrative form." The compilation or description of myths is sometimes known as mythography, a term which can be used of a scholarly anthology of myths. Key mythographers in the Classical tradition include Ovid, whose tellings of myths have been profoundingly influential.
Shelly Bond is an American comic book editor, known for her two decades at DC Comics' Vertigo imprint, for which she was executive editor from 2013 to 2016. Bond was hired as assistant editor one month after Vertigo was formed, by Karen Berger, editor of the imprint, she was promoted to executive editor and vice president of Vertigo Comics in 2013, taking the place of Berger. In April 2016, DC announced. Bond launched Black Crown, a new imprint of IDW telling stories connected to a fictional English pub, in October 2017, she is married to artist Philip Bond. Shelly Roeberg at the Grand Comics Database Shelly Bond at the Grand Comics Database Shelly Bond at the Comic Book DB Shelly Bond on IMDb